The production of Rossini's Barbiere di Siviglia . . . was eye-catching, singer-friendly and concept-free, thanks to Robin Wagner's clever revolving set . . . and John Cox's nimble, character-focused direction . . . Brian Large's video direction captures every facial expression, yet aptly conveys the full stage picture . . . Battle's Rosina is faultlessly sung: her fioritura is buttery, and the tone is rosy and even from below the staff up to high E-flat . . . [Rockwell Blake]: one can appreciate his superhuman breath control, stylish confidence and vocal stamina. (Blake caused a sensation when he reintroduced Almaviva's final bravura aria, "Cessa di più resistere," for this revival.) . . . Blake's is a worthy portrayal -- noble, deliberately paced and finely detailed . . . [Leo Nucci]: With old-world allure, elegant vocalism and seasoned comic timing, his performance is nothing short of masterful. Ringing high As, impeccable diction and an attractive bravado render "Largo al factotum" the showstopper it was meant to be, finishing with a perfectly timed flourish and bow. The cavernous-voiced Ferruccio Furlanetto turns in a subtle performance as Basilio . . . Nearly stealing the show is Enzo Dara, who hardly seems to be acting, so natural is his portrayal of the quirky old doctor Bartolo.